is a Serbian visual artist whose practice spans painting, video art, and digital media. She holds a graduate and postgraduate degree in Painting from the Faculty of Applied Arts at the University of Arts in Belgrade, where she later earned her PhD in Interdisciplinary Studies, with a focus on Digital Art, in 2018.
Her doctoral thesis, Human Body Forms, served as a critical turning point in her artistic trajectory, synthesizing traditional painterly techniques with contemporary digital media and experimental video. This body of work reflects a deep investigation into corporeality, perception, and the ways in which the human form is mediated through visual culture. As both an academic and an artist, Radović’s research continues to interrogate the boundaries between physical and digital representation.
In parallel with her artistic career, Mina has contributed significantly to art education. She served as Professor and Chair of Painting and Drawing at Lekart Academy, a private school of art offering junior and senior-level education. Her role included not only curriculum development and instruction, but also mentoring young artists through workshops and creative projects that emphasized interdisciplinary approaches.
Radović has an extensive exhibition history both in Serbia and internationally. Her work has been presented in numerous group exhibitions, as well as in sixteen solo exhibitions of paintings and seven exhibitions dedicated to video installations. Her visual language is marked by a poetic interplay of form and motion, often navigating themes of identity, embodiment, and transformation.
She is an active member of the Association of Fine Artists of Serbia (ULUS), where she contributes to the country’s contemporary art discourse. Through her multifaceted practice, Mina Radović bridges the gap between classical fine art traditions and emergent digital methodologies, positioning herself as a dynamic voice in the evolving landscape of contemporary art.
Mina Radović's recent body of work stands as a commanding meditation on the human form, transformation, and the visceral quality of lived experience. Rooted in abstraction, her paintings offer a layered dialogue between corporeality and the ephemeral, between structure and dissolution. Each piece from her series reflects a deep engagement with materiality, gesture, and psychological resonance.
Mina Radović’s paintings are not merely aesthetic experiences; they are philosophical inquiries into the structures that shape and distort human experience—both internal and external. Her unique integration of traditional painting techniques with experimental materials and forms places her within a compelling lineage of contemporary abstractionists who refuse to separate the emotional from the formal.
In her hands, abstraction becomes a language of the body—fluid, vulnerable, and persistently alive.
